2012 Workshops Listing
2012 Workshop Listing
View the 2011 Workshop Listings View the 2009 Workshop Listings
| 2D and 3D Makeup, Markas Henry, Univ. of Colorado BoulderThis workshop will demonstrate various products and ways to achieve 3-dimensional gore makeup effects. Both pre-made and custom prosthetic wounds will be incorporated into the presentation. Co-Presented with Anne Murphy |
| Acting On Camera, Jose Mercado, Univ. of Colorado DenverThis is the perfect workshop for the actor who desires fundamental auditioning skills for on-camera work. We explore the audition process from the actor’s point of view to the casting director’s. We will go over the industry terms, audition techniques, taking direction, and more! This is also an ideal class for actor beginning work in front of the camera, from film to commercials. |
| Acting: The Active Process, Tom McNally, Univ. of Northern ColoradoA 20-year thespian tradition: Tom McNally’s hands-on, fast-paced, lively workshop includes demonstrations and participation in learning acting techniques of purpose, obstacle, tactics, circumstances, relationships, character and orchestration. A special segment of the class is devoted to psychological gesture of the character. |
| Acting: With Heart and Mind, Eric Prince, Colo. State UniversityThis workshop will be about action and story, in a highly interactive way, about building rapport with other actors, using language in unexpected ways and enjoying the challenge of the unknown – and hearing just where language may happen to take us. My focus is on an essential aspect of all good acting – the artist’s ability to harness mind (thinking) with heart (feeling) and to channel the process as an innermost strength. How to play for truth in other words. Anyone who wants to act or enjoys acting – you’re most welcome. |
| Actor/Director Relationship and Tablework, Amy Feinberg, University of the Arts (intended for students and teachers ) We will explore the actor/director relationship and how to craft specific, efficient and positive choices to unlock the door to an organic process that begins with script, works with listening and impulses to shape and stumble upon the right choices, guide blocking, and ultimately results in a grounded, meaningful, active, and driven performance. Learn how to utilize Meisner’s repetition exercise to get students connected inside the circumstances of the play; Stanislavsky’s objectives and actions to refine choices and get the work active and ready for blocking; alternative exercises to explore subtext and meaning; and great communication tips to develop and rethink your rehearsal process. |
| Advanced Improvisation, Mike Rock, Chelsey Lately Guest ArtistHarder than the intermediate class, easier than a root canal. For actors who have more experience with improvisation, a class to challenge your skills and improve your technique. Less explanation of the basics, more emphasis on nuance and subtlety. More attention to developing scenes, creating characters and relationships, while staying immediate and telling the story. It’s not about trying to be funny—it’s not about trying. It’s about being. For students and teachers with some improv experience. |
| Advanced Playwriting, Stephen Gregg, Guest ArtistWe’ll talk about how to create complex characters, how to keep your plot working, and what is the single most important word for the playwright to know. Attending the Basic Playwriting workshop first is recommended, but not required. For students and teachers, intermediate to advanced levels. |
| Alternative Training for Tech, Jane Childs, Stagecraft Institute of Las VegasWe are the sum of our experiences. If you hadn’t done what you did you wouldn’t be where you are today. What you are looking for are options to expand your skill bank which really just means expanding your life experiences. Adopt the skill of daring to believe you can do what is presented to you. Learn the skill of seeing the world around you. Open your imagination to note life around you – don’t just pass though it!The object is to bring your experience into your art – light boards and sound track are only tools for the trade – to be learned by anyone – your experience is the ignitor of your art. |
| Approaching Improv With Intention, Kerstin Caldwell, Guest ArtistAlthough it is thought that to do Improv, the actor must be funny at all times, the opposite is actually true. By approaching Improv from a grounded, intention-filled space as an actor, what is created is far more realistic and riveting. Together we’ll explore the art of slowly approaching a scene from the actor’s current emotional awareness so that truth and reality take center stage. Space is limited to only 30 participants so that each student may receive individualized attention, so please arrive early. There is no limit to the number of Theatre teachers who want to sit in on this workshop, so please feel free to come and watch. |
| Ask a Tech Question, Steven McDonald, University of Denver Come armed with whatever questions you might have about production management, sound, sets, lights and construction. We’ll even discuss computer and sound design, and DMX. |
| Audition Bootcamp, Allison Watrous, DCTC Teaching ArtistAre you preparing for college auditions? Are you perfecting your next IE? This interactive workshop will inject your next audition with authenticity, creativity, and vitality. Transform your audition from great to dynamic. Auditioning might be the hardest job an actor has to do, so find the power to tackle it. |
| Audition Techniques, Allison Watrous, DCTC Guest Artist |
| Auditioning for Musical Theatre Pat Payne, Guest ArtistThis workshop covers every area of auditioning for musical theatre, including: type, proper audition material, attire, working with the accompanist, and the other dos and don’ts. |
| Beginning Playwriting Stephen Gregg, Guest ArtistWe’ll focus on what distinguishes playwriting from other forms of writing you might be more familiar with, especially fiction. The best way to learn is to try, so bring a pen! For students and teachers, all levels. |
| Broadway Belt: Training Vocal Athletes, Mary Ann Kehler, Broadway Training IntensiveDo you want to learn to belt or does your belt need to be stronger? Does your voice crack or break between chest voice and head voice? Is it breathy on higher notes? Does your voice have the stamina to sing eight shows a week? In this workshop, you will learn exercises that will help you sing from the bottom to the top of your vocal register without breaking or cracking. (This is known as “mixing.”) You’ll learn how to move from mix into belt and how to do it in a healthy way. This is the technique used by Broadway Training Intensive (formerly Broadway Comes To Denver, and now expanding beyond the Denver area). All levels of singing experience are welcome, as are actors who think they can’t sing well! |
| Build Hero: Characterization and Costume Design, Ashley Bellet, Oklahoma City UniversityThis workshop focuses on the process of characterization, collaboration, and costume design. Participants will create a superhero based upon given circumstances – building a background, arch-nemesis, costume, and combat style. Participants will also have the opportunity to practice rendering this superhero, and present their work to the group. Maximum Participants: 24 |
| Character Biography, David Saphier, DCTC Teaching ArtistExpand your knowledge about your character by combining improvisation, writing and dramaturgy to create a character biography. Take the information you know from the script or the monologue you are working on and use it to write a short biography about your character. How did their life come to this point or how did that moment inform the rest of their life? |
| Chekhov and Professional Actor Training, Jennifer McCray Rincon, Guest Artist, VisionboxThe workshop introduces actors to the foundations of professional acting technique through an exploration of the actor’s five questions and to the work of Anton Chekhov. After some brief lecture and handouts, two Visionbox Ensemble members will perform a scene from Chekhov’s Three Sisters inviting discussion from the class participants. Students in the class will then do a cold reading of another scene from the play and will be asked to comment on the scene using the tools of analysis presented at the beginning of class. While there will be some initial lecture, every attempt will be made to make this class interactive and fun for participants. |
| Choreography from Spamalot, Piper Arpan, Guest Artist |
| Commedia del Arte: Masked Physical Comedy Brenton Daviau, Guest ArtistExplore physical comedic theatre at its peak on your feet! This Workshop will introduce the style of classic Italian physical acting and shape basic skills in improvisation. The workshop will include brief history on the style, exploring mask work, a walkthrough of the basic character stock types, and an introduction to the Commedia Lazzi. |
| Creating Character Through Movement, Tamara Meneghini, Univ. of Colorado, BoulderEver considered approaching a character in a purely physical way? In this workshop we will explore what it means to fully engage the physical instrument in the creative process of creating character. Please wear comfortable clothing and bring a short piece of text to play with. |
| Creating Ensemble, Felicia Meyer, Ft. Lewis CollegeThis workshop will use viewpoints as a foundation for performers to explore movement, voice and expressive action to create improvisation. This workshop will also serve as an acting callback. |
| Creating Your Own Play Through Improvisation, Gillian McNally, University of Northern ColoradoIn this workshop, students will learn how to use stories and issues from their every day lives to create an original play. The focus will be on using improvisation and image theatre as a way to unlock your acting and creative potential. |
| Creative Careers: From the Stage to the Stars, Gully Stanford, Dave Mazzeno, Jennifer JirousDid you know that your Thespian experience is preparing you for success in college and in life? The skills you are learning onstage and backstage may very well lead you to a “Creative Career” – there are 186,000 of these careers in Colorado alone. At this session, students will meet successful professionals and explore thewww.CollegeInColorado.org website to find careers “From Arts to Zoo” along with the colleges and courses available and scholarships. |
| CSI: Crime Scene Makeup in Hollywood, Brian Kinney, IATSE Guest ArtistFrom foul play, to crime scene, to morgue, to the undead, death is a staple of the entertainment industry. Learn what goes into the illusion of death created for your favorite crime shows and films. CSI veteran makeup artist Brian Kinney will demonstrate and explain with interactive makeup techniques and behind the scenes secrets. This is Death, in High Definition. |
| Dance Audition for the Non-Dancer, Monte Black, University of Northern ColoradoMany musical theatre auditions have two separate dance calls: one for dancers and one for actor/singers. This workshop explores the core repertoire of steps that any actor/singer/dancer should know in order to survive the “non-dancer” dance audition. Dress for the part – this class is full-on participation – of the dancin’ kind. |
| Dancing In Playful Grace, Haruna Tsuchiya, Guest Artist, Spring TheatreWalking, standing, sitting, crawling, lying down – dancing starts from these postures and variations of them. We will explore structured improvisational dance forms and learn to create the “scores”. Touching our internal awareness of body-mind, deep listening, and playfulness within, this workshop will introduce some tools to play with as a solo and an ensemble practice. |
| Dialect, Chip Persons, Univ. of Colorado-Boulder |
| Dialects: A Quick Approach, Dr. Linda Brennan, Am. Acad. of Dramatic ArtsThis workshop will cover the use of dialects in creating characters for stage and film. We will address resonance, pitch, and the sound changes needed to create real dialects quickly! Get ready to breathe, learn the tools needed to do dialect work, and have fun learning the most popular dialects of English: British, Cockney, New York…and a few surprises! |
| Directing: Creating Meaningful Pictures & Images, William Goldyn, Central LA HS of the ArtsActors are certainly able to coach each other. Designers create around the pre-established concept of the show. So, besides paperwork and scheduling, what is a director’s job in rehearsal? Answer: to be the perspective of the audience, to better visualize the story and provide a window to the subtext in each scene. This workshop was developed for actors, directors, and designers to better ‘see’ the show. We will focus on truly seeing the space to tell stories. Using our imagination and creativity, participants will become aware of the complex human condition acquired through aesthetic and intellectual perceptions as evidenced in various modes the theatrical production. |
| Directing: Discovering Your Concept, William Goldyn, Central LA HS of the ArtsThis workshop will focus on a variety of ways directors analyze scripts narrowing toward their own directorial concept. We will explore what it means to form a concept, how to translate that concept to both actors and designers, and how to use it as a unifying force in all decisions about the show. This workshop’s approach is totally experiential–participants discover the demands and problems of directing by actually doing it step-by-step with each participant’s own directing style ultimately emerging. Directorial creativity and confidence building are the central benefits of this excellent workshop, combining theory with active student participation. |
| Do You hear: Speaking from Shakespeare’s Folio, Timothy Pinnow, Colorado Mesa UniversitySpeak Shakespeare the easy way!! Learn how using Shakespeare’s original punctuation and spelling can lead the actor into how to speak the words easily, clearly, and with incredible passion. Let understanding the nuances of Shakespeare’s Folio text point the way to understanding what Shakespeare means. |
| Effective Acting: Affecting Others, Dr. Mike Pearl, Guest ArtistThe most satisfying performances make the audience believe and empathize with the characters. You’ve seen those magical performances, and envied those actors. The truth is, you can make the magic happen, too. By employing a combination of activities, exercises, and current research, Dr. Pearl will guide you to a discovery of keys that unlock the mysteries of effective acting — the kind that affects others. |
| Extreme Physical Characterization, Lawrence Hecht, DCTC Teaching ArtistGetting to the heart of the character by exploring the body and physical life of the character. “Goofy” acting- make extreme choices about character. How do they walk and talk? Sit and stand? Find the inner life of the character by using external expression- mannerisms, habits, gestures, extreme body forms, dress up, impressions, etc. Learn to “play” the character, not “feel” the character. |
| Fantasy Makeup Applied, Jane Childs, Stagecraft Institute of Las Vegas |
| Feedback on your Technical Designs or Portfolio, Anne Toewe, Univ. of Northern ColoradoPlease bring your technical design materials to this workshop. |
| Feedback on your Upcoming Auditions, Krista Gano Upton & McCarl, Guest ArtistsPlease bring your audition materials to this workshop, i.e. scripts and/or music. |
| Flash Mob! J. Johnson-Lowe, DanceArts Studio Guest ArtistHave you ever seen a commercial or youtube video of a flash mob and wondered how it would feel to be a participant? Here is your chance to be a part of the very first Colorado thespian flash mob. Don’t worry about your dance experience this mob is for everyone. At every flash mob workshop session I will teach the same exact dance, so if you need more practice come back for another session. Then get ready for the performance, time and place to be announced. Wear comfortable clothes and shoes to move and let the fun begin. |
| Forensic Pathology Makeup and FX in Hollywood, Brian Kinney, IATSE Guest ArtistFrom foul play, to crime scene, to morgue, to the undead, death is a staple of the entertainment industry. Learn what goes into the illusion of death created for your favorite crime shows and films. CSI veteran makeup artist Brian Kinney will demonstrate and explain with interactive makeup techniques and behind the scenes secrets. This is Death, in High Definition. |
| Fosse Dance! Jodi Youmans Jones, Casper CollegeCome and learn the style of dance that took Bob Fosse and shows like CHICAGO and CABARET to the top at the Fosse Workshop. This workshop is high energy, full of fun, and deals with the real stuff! Learning everything from the traditional Fosse walk to the actual Broadway choreography of CHICAGO this workshop is worth a try. Be prepared to be tantalized, thrilled, and steamed up, by the time we are done. |
| Get Out of Your Head and Dance, Laurence Curry, DCTC Teaching ArtistLearn how to defeat personal fears that hinder you from executing choreography well. What good is Fosse, jazz, ballet, tap, hip hop or any other style if one has not cultivated personal strategies for success? Participants will learn techniques suitable for auditions, class and choreography. Once you understand the ins and outs of learning choreography, you can get out of your head and dance. |
| Getting Callbacks: Professional Technique for MT, John Leonard, Univ. of Northern Colorado This workshop covers every area of auditioning for musical theatre, including: type, proper audition material, attire, working with the accompanist, and the other dos and don’ts. |
| Guerrilla Filmmaking, Jeff Slaga, Guest ArtistBring at least a group of four . Three will be actors and one will direct and operate your camera. That’s right, “your” camera…so bring something that you can perform an “in-camera” shoot with no editing. We will provide the script from a scene from an obscure film noir movie. We will give you a few vital tips and then send you on your way to film your own quick-take of this scene. Oh, and did I mention that one character might be Lucifer so a cloak or dark hoodie might be an essential prop. And what is it that I see in that cup of something you brought? |
| Guide to Auditioning in the Real World, Celina Polanco, NY Film AcademyCasting Director and Actor Celina Polanco will conduct this hands-on session. You will learn to work on sides from television and film, or if you are prepared with a monologue or 16 bars of a song she will see that material as well. This workshop is perfect for an actor with stage training who would like to learn how to adjust their work for the small screen. |
| Here’s a Concept: Creating a Director’s Vision, Gavin Mayer, Guest ArtistHave you ever wondered how a director develops their concept and vision for a production? This hands-on workshop takes participants through a process of understanding how a director reinforces the themes and messages of a play while developing the frame through which the audience will watch the play. |
| High Def Makeup, Brian Kinney, IATSE Guest ArtistNot all special effects makeups seen in film and television use state-of-the-art techniques. Sometimes, budget, time, and location require a bit of improvisation. Learn how to turn a cheap costume piece or grocery store item into a high definition worthy makeup effect with a few clever techniques and tricks. |
| Hollywood or Broadway? Or Both? Anthony Reimer, NY Acad. Of Dramatic ArtsThis workshop explores the pros and cons of both Los Angeles and New York City. What does it take to win auditions in both cities and most importantly, what does it take to succeed? Taught by an actor who’s lived and worked in both locations, do you know where you’ll end up? |
| How to Audition for College & Conservatory Programs, Kathy Morath, AMDAPerforming Arts programs, whether they are academic degrees or skill-based conservatory BFA programs, adhere to a few basic rubrics when auditioning and interviewing prospective students: Is the student a serious candidate for our program? Does the student currently have the basic skills and knowledge regarding the chosen course of study? And does the student come to the interview with a basic understanding of the institution and what it will offer the student? Handouts regarding everything from material selection to proper attire will be distributed. Students should be prepared to perform either a short (32-bar) song or a one-minute monologue. |
| How to Build Strong Technical Portfolios, Metro State University FacultyGetting the next job/internship or getting into a great undergraduate program. Understand the complexities of organizing your portfolio; providing appropriate visual layouts and content; and marketing yourself through portfolio presentation. |
| IE Short Film Screening, Jeff Slaga, Guest ArtistCome see films made by fellow students! We will interview our filmmakers and celebrate their creativity. Plan on staying for the entire performance no matter how loudly your stomach rumbles or for the tenth light saber fight, no matter which comes first! |
| If I Can Make It There: MT, Matthew Herrick, Univ. of Northern ColoradoHow to get into the best University theatre programs and ultimately ‘Make It’ as an actor in today’s Musical Theatre industry. Learn how to research and get into the best University programs for Musical Theatre and Acting, and how to ultimately make it in the rigorous industry of today’s Musical Theatre world. We will discuss and work on the necessary skills in auditioning, singing techniques, acting, and self-marketing, that are essential to begin preparing for successful college acceptance and a career beyond. |
| Improv Patterns: Organizing the Chaos, Brian McManus, Guest Artist |
| Improv: Gift Giving, Brian McManus, Guest ArtistEver been in an improvised scene when someone says or does something that turns everything into gold? Suddenly you know where you are, who you are, what you want, and how to make it happen. These are the gifts we can give each other on stage. In this workshop we will look at different methods of taking care of yourself and taking care of your scene partner that will make everybody look good. |
| Improv: The First Thirty Seconds, Brian McManus, Guest ArtistThe first few moments of an improvised scene can be terrifying, amazing, confusing, and sometimes just real weird. In this workshop we will work on techniques that will help you and your scene partner get things off to a smooth start and headed down the road for a fun and successful scene. |
| Improvisation for Beginners Mike Rock, Chelsey Lately Guest Artist |
| Improvisation for Singers, Kathy Morath, AMDAImprovisation exercises ground the singing actor’s sense of time, space and physical life and help to free the imagination. We will spend the class on our feet, working through exercises from a variety of sources and disciplines, including Viewpoints, Del Close, Viola Spolin, and Meisner technique. We will end the class with a mini-performance which will leave the student with a sense of confidence and a new approach to “singing a song”. Wear rehearsal clothes and come prepared with a 16-bar cut of a musical theatre song. |
| Landing the Role: From Hometown to Hollywood, Anthony Reimer, NY Conservatory for Dramatic ArtsIn this dynamic on your feet, on-camera workshop, we explore the keys to landing the role in anything, anywhere. Whether you want the lead in the school play, to get accepted to the college of your dreams, or book the lead in a feature film this is the insider information you need to know. Taught by a professional actor who has worked in theatre, television and film, this is the chance to see what it REALLY takes to land the role! |
| Lighting Color Theory, Brian Hapcic, Univ of Northern Colorado |
| Making and Entrance, Michael Kary, Grand Canyon UniversityTurning the tables on how we (actors) view the audition process can help us walk away from each interview a success. Simply knowing how to enter the room, where to stand, and when to leave can make the difference between crafting a career of possibility and a lifetime of frustration. |
| Making Thought Visible, Marc Haniuk, Central Washington UniversityDrawing is an “expressive language” maybe more expressive than words! But; Is there a base vocabulary of Visual Language? This workshop will attempt to answer this question and explore the world of visual language through expressive drawing techniques meant to make thought visible. No skill required. |
| Melodrama: The Art of Physical Expression, Brenton Daviau, Guest ArtistDiscover the art of theatrical performance in a new light! This workshop will explore heightened drama through both emotion and physical expression in order to tell a story. The workshop will include working with exploring body movements, gesture, vector points, and will conclude with a theatrical Murder Mystery Presentation. |
| Mime and Illusion, Paul Belden, Guest ArtistWhat do sleight of hand, puppetry, prat-falls and Fushigi balls have in common? …the skills of a mime. In this workshop, participants will be introduced to (and practice) basic techniques such as muscle isolations, freezing, balance, misdirection, and making the invisible seen – all with the purpose of creating illusion. |
| Momentum Into Space, Haruna Tsuchiya, Guest ArtistWhat is space? What is time? What happens when you look at a material through different lenses, deconstructing and then constructing again? This workshop explores one’s spatial awareness, deep listening, and internal “knowingness” through Viewpoints technique and Japanese calligraphy practice. |
| Monologues: How the Tony Award Winners Do It, Andrea Kehler, Broadway Training IntensiveThis workshop is the foundation of the curriculum of Broadway Training Intensive (formerly Broadway Comes To Denver, and now expanding beyond the Denver area). Students will learn tried and tested techniques to give their performances a polished and professional edge. The workshop introduces concepts utilized by Tony Award winning directors and performers, top musical theatre colleges, and NYC acting studios frequented by working professionals who need to be fresh eight shows a week. There will be opportunities for some students to be coached on a monologue! Please bring a copy of monologue text if available. |
| Musical Theatre Dance, Jodi Youmans Jones, Casper College |
| Musical Theatre Workshop, Bud Coleman, Univ. of Colorado-Boulder |
| My Imaginary Friend: Help with the MT Audition, James Olm, Casper CollegeLearn how to prepare your singing audition for maximum energy impact. Then some of you willing students, without accompaniment, will perform your music audition piece in front of the group for creative input. |
| On-Camera Acting, Jay Louden, Metro State University of DenverThis workshop will explore what Tony Barr, author of Acting for the Camera, calls Thought Bridges. These are the moments that you allow the camera to see the individual thought processes of your character. We will explore the difference between a performing a monologue in a theatrical setting and the detail needed in on-camera work. Participants will have the opportunity to work on camera. |
| Out of Myself, Into the Character, Richard Burk, Casper CollegeThis workshop will take you through exercises and applications that will equip you to own the stage the instant you walk on, and present the character in the world of the play. We will engage voice and body through energizing techniques, approach script awareness in search of the action in the scene, and empower the students to act with confidence and authority! |
| Perfecting Your Individual Event: Acting. Rex Corr & Dr. Mary Schuttler, IE CoordinatorsPlease bring your IE materials to this workshop, i.e. scripts and/or music. |
| Perfecting Your Individual Event: Musical Theatre. Jill Tjardes, CO Board & Meaghan Dunham, GuestPlease bring your IE materials to this workshop, i.e. scripts and/or music. |
| Perfecting Your Individual Event: Tech. Anne Toewe & Diane Carr, Guest ArtistsPlease bring your IE materials to this workshop. |
| Perfecting Your Scholarship Audition. Brittany Wallis, Colorado Audition CoordinatorPlease bring your IE materials to this workshop, i.e. scripts and/or music. |
| Physically Building Your Character, Samantha Provenzano, Guest ArtistThis will be an active on your feet class where actors will use different improv scenarios and games to physically create a character. This workshop will hopefully provide actors with new ways of finding and creating character details. |
| Play Your Way to a Freer Voice, Rena Cook, Oklahoma UniversityRena Cook, author of Voice and the Young Actor, brings all her famous toys, music, balloons and straws to help the actor find a stronger, clearer more expressive voice. |
| Playwriting for the Actor, Dee Covington, Curious Theatre Guest ArtistIn this experiential class we will participate in a writing exercise that allows us time to write and then explore potential development of the material. Taking the time to spin stories and discuss the deepening of story structure will invite many genres and theatrical possibilities into the room. Come prepared to write and ask questions. |
| Poor Theatre: Creating on a Budget, William Conte, Casper CollegeUsing nothing but resources like flashlights, candles, pieces of fabric, and whatever else the students might have available, participants are divided into groups and are challenged to “translate” a short poem or non-dramatic passage into a five-minute performance. |
| Pride Youth Theatre Alliance, Cory Barrett, Rainbow Alley DirectorThe Pride Youth Theater Alliance is a network of youth theater companies and programs across the United States and Canada that are support the developing field of queer youth theater. Queer youth theater is the realm of LGBTQ youth and their allies who desire to not only continue to develop their craft as thespians but also use it as an outlet to amplify the youth voice around who they are, what they need and what is important to them. The workshop will look at the portrayal of LGBTQ people in theater, its impact on youth, and the work that this alliance is doing to advance its movement. |
| Prop it Up: Successfully Dressing a Show, Beki Pineda, All Propped UpSeveral pages of script will be read by participants and an analysis conducted of how the set pieces and hand props can support the activities of the cast. Developing an atmosphere, reflecting an era, creating a location and discussing the needs of the script will all be covered in this workshop. A discussion will also be conducted regarding the role of the propmaster as it supports the other designers. |
| Puppetry: Bringing Inanimate Objects to Life, Brenton Daviau, Guest ArtistDesign your own puppets and bring them to life on the stage! The workshop will include basics in puppet construction, exploration with basic movements, and storytelling. |
| Resume, Cover Letter, Interview Techniques, Brenda King, Univ. of Colorado-Boulder |
| Selling the Song Cherity Koepke, Guest Artist, Opera ColoradoHave you ever wanted to audition for a musical but you don’t think you can sing? Some of the best performers aren’t necessarily the best singers. Sometimes it’s the performance that counts. There’s an art to selling a song and you can learn how. Come and learn tips and tricks to help you make the most of your voice and give a great performance. No singing experience is required. |
| Shakespeare Alive! Gillian McNally, Univ. of Northern Colorado |
| Singing for the Actor, Cherity Koepke, Opera ColoradoHave you ever wanted to audition for a musical but you don’t think you can sing? Some of the best performers aren’t necessarily the best singers. Sometimes it’s the performance that counts. There’s an art to selling a song and you can learn how. Come and learn tips and tricks to help you make the most of your voice and give a great performance. No singing experience is required. |
| SNL Style Improv, Krista Gano Upton, Innovative ImprovAre you the next Will Ferrell or Lisa Kudrow? Work hand in hand with Krista Gano, former Executive Director of The Groundlings in Los Angeles (the improv training program that has produced over half the cast of Saturday Night Live since the beginning of the show)! This introductory session will address how improvisation can strengthen an actor’s ability to bond, listen, explore character and learn about self. The technique is great for dramatic and comedic actors alike, and will help actors to free their performance by teaching them to be flourish in the now. You will spend our time working on the basic skills of improvisation. Have lots of questions about the industry? There will also be time for a question & answer period. |
| Speak Shakespeare the Easy Way! Timothy Pinnow, Colorado Mesa UniversityLearn how using Shakespeare’s original punctuation and spelling can lead the actor into how to speak the words easily, clearly, and with incredible passion. Let understanding the nuances of Shakespeare’s Folio text point the way to understanding what Shakespeare means. |
| Spectrum of Spontaneity, Allison Watrous, DCTC Teaching ArtistThis workshop will explore the depth and scope of spontaneity. Improve your improv, ignite your presence, activate your entire body, and drop into the moment. Don’t play the middle ground, play the whole scope. Acting is the beautiful shifts between tiny moments- get ready to find them. |
| Spring Awakening Cast Talkback Cast Members, Ignite Theatre |
| Stage Combat, Erin Ramsey and Chris Russell, Guest ArtistPlays from classic to contemporary works frequently call for characters to enter into physical conflict. This workshop introduces the basics of performing staged fights including safeties and how to be a good partner. Techniques include falling down, and basic unarmed stage combat. This workshop is high energy and requires active participation and movement. |
| Stage Machinery, Kerry Cripe, Univ. of Colorado Boulder |
| Stage Makeup and Special Effects, Maggie Stillman, Amy Ratliff, NorcostcoThis workshop is designed to introduce various stage makeup techniques to students. We will cover stage makeup, aging, scars, bruising, and contouring to change the face shape. Stage makeup is always a fun way to explore new ways to make your face look completely different! Come and learn secret tricks and tips to make yourself and your stage partners completely transform! |
| Stage Management, Cory Seymour, Colorado State University |
| Student Leadership, Spencer Spotts, ITO Leadership |
| Swing Dance Aerials, Danielle and Joe DeMers, Guest Artists* Partner Required * Everything you need to know to prepare you for flight. |
| Swing Dance Charleston, Danielle and Joe DeMers, Guest Artists |
| Swing Dancing for the Stage, Danielle and Joe DeMers, Guest ArtistsWe’ll use what you learn in Swing Dancing 1 and will teach a routine comprised of lead-able moves geared toward entertaining the audience. Improve your stage presence, self-esteem, coordination, creativity, attentiveness, and communication skills. |
| Swing Dancing Part 1, Danielle and Joe DeMers, Guest ArtistsThis workshop is designed to introduce you to the basic moves and footwork for performing swing dancing on stage. You’ll learn the high-energy, fun moves of swing, plus the figures and combinations essential to all swing dancers. This class is perfect for those who have never danced before, as well as those looking for some new moves. |
| Sword Fighting, Erin Ramsey and Chris Russell, Guest ArtistFrom Shakespeare to Peter Pan, Ballet to Musical Theatre, swordplay is an exciting and audience pleasing element. It is also fraught with danger – danger of looking amateurish and actual physical danger for actors. This introductory workshop will cover one style of swordplay – swashbuckling (thar be pirates!) but will serve as an excellent springboard to avoiding dangers and pitfalls when weapons are used onstage. Prerequisite: Stage Combat I or equivalent class taught by Erin Ramsey. Space is limited, arrive early. |
| Tattoo Makeup, Brian Kinney, IASTE Guest ArtistLearn how to make long lasting and realistic temporary tattoos with a variety of techniques including stencils and paper-transfers, and learn how to camouflage real ones. “Three dimensional “ tattoo techniques, currently used in Hollywood for wounds and other character details, will also be demonstrated. |
| Teacher’s: Tablework – Actor/Dir.’s Relationship, Amy Feinberg, University of the Arts(intended for students and teachers ) We will explore the actor/director relationship and how to craft specific, efficient and positive choices to unlock the door to an organic process that begins with script, works with listening and impulses to shape and stumble upon the right choices, guide blocking, and ultimately results in a grounded, meaningful, active, and driven performance. Learn how to utilize Meisner’s repetition exercise to get students connected inside the circumstances of the play; Stanislavsky’s objectives and actions to refine choices and get the work active and ready for blocking; alternative exercises to explore subtext and meaning; and great communication tips to develop and rethink your rehearsal process. |
Teachers Only: All the Best Theatre Games, Gillian McNally, Univ. of Northern ColoradoAre you in need of some great warm up games? Want to know some great improv games that are sure-fire hits with your students? In this hands-on workshop, teachers will participate in a litany of theatre games that focus on:
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| Teachers Only: Conference Orientation, Jay Seller and Jeremy Goldson, CO State Board |
| Teachers Only: Guiding Students Towards Success, Gully Stanford, Dave Mazzeno, Jennifer JirousWith the adoption of Postsecondary and Workforce Readiness Standards, and the Individual Career and Academic Plan (ICAP), Colorado has determined that students should make informed choices about their postsecondary options. In the Creative Industries sector, this means that the skills we associate with arts education are increasingly vital to and valued by Colorado’s Economic leaders. This session will introduce theatre faculty to the vast array of creative career opportunities awaiting your students, and will share resources and pathways for parents and students to explore. We will also cover information on Career and Technical Education (CTE) certification and the steps to take to certify yourself and your program. |
| Teachers Only: Lighting 101: Process and Product, Brian Hapcic, Univ. of Northern ColoradoStrategies for realizing a lighting design and a primer for technical information. The second workshop will be “Basic Color Theory” and can read: An investigation into our perception of color on various surfaces. |
| Teachers Only: Reinventing Your Program, Jane Childs, Stagecraft Institute of Las VegasTRUST (giving and earning) is the most important part of leadership and teamwork. You have to be the mentor not the master. Each of your students is an individual with a skill and life set of their own. Find out what they know and what they want to do. Assign positions considering their goals – not yours. Your students will learn through failure (which may not always be great for the budget/schedule, but it is sometimes the best way for someone to learn). |
| Teachers Only: Teaching Playwriting, Dee Covington, Curious Theatre Guest ArtistIn this session we will learn a handy playmaking template that can be used at any stage in the development process. It not only encourages a solid play structure but also ensures that your students’ plays are asking the right questions of their plays and their characters. There will also be time for questions and exploration of needs so teachers feel more able to deepen the playwriting process in the classroom. |
| Ten Steps to Producing Your First Play, Joe Norton, Broadway CaresProducing a show takes a lot of planning and coordinating. But if you have a general idea of what it takes to put up a show, you’ll have much better chance at success. Come learn how to choose a project that’s right for you. We’ll talk about assessing risks and taking chances – what live theatre is all about! And one more thing – the producer is the boss. Bring your ideas, stories and questions. Open to all. |
| The Actor’s Toolkit, Frank Stewart, Guest ArtistThe exercises in this workshop are the same ones used by Meryl Streep, Christopher Durang, Sigourney Weaver, and countless other successful theatre artists when they studied at Yale. These are the tools that will help you really connect with another character, find something specific to play even when the words don’t make it clear and stretch your imagination way past the obvious. This workshop is geared to students at all levels who want to explore exercises that make acting easier and more fun. For students and teachers, all levels. |
| Things I Wish I’d Known, Brian Hughes, Guest ArtistTips, tricks and practical advice for surviving the first year of an acting career. Information on getting your foot in the door, self-promotion, networking, audition advice, casting, business acumen, unions and what to do after you landed that first job. |
| Tour of the Denver Center Theatre Limit 40 per group, Carol Krueger, DCPA Lobby A |
| Universe Inside, Haruna Tsuchiya, Spring Theatre Guest ArtistHuman body is filled with mysteries and complex systems, as if it is the Universe all by itself. In this workshop, we will experiment with the different fluids in our body by locating, sensing, feeling, and moving and voicing from unique qualities each of them has. Let’s explore the possibilities of bringing anatomical and physiological systems as your ally in acting and creating a character! |
| Voice for the Actor, Anne Penner, University of DenverAn actor’s voice is one of her most important tools, and using it correctly is essential to a successful performance. After briefly discussing how a free, natural voice works (and why it doesn’t), we will work through the steps of a productive warm up: relaxing, stretching, breathing, resonating, and articulating. We’ll touch on the differences between our familiar versus natural voices, and also spend time on speaking text with our warmed-up voices. This workshop is ideal for anyone looking to strengthen their voice training. |
| Voice for the Stage, Tamara Meneghini, Univ. of Colorado, Boulder |
View the 2011 Workshop Listings View the 2009 Workshop Listings